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A Portfolio of Compositions
Chris van Rhyn
Presented in partial fulfilment of the requirements for the degree of Master of
Music at Stellenbosch University
Supervisor: Prof. Hans Roosenschoon
March 2010
ii
Declaration
I hereby declare that the work contained in this portfolio is my own original work and
that I have not previously in its entirety or in part submitted it at any university for a
degree.
Date: March 2010
Copyright © 2010 Stellenbosch University
All rights reserved
Stellenbosch University http://scholar.sun.ac.za
iii
Acknowledgements
I would like to convey my gratitude to my supervisor, Prof. Hans Roosenschoon, for his
critical and stimulating guidance and encouragement throughout the duration of this
project. I would also like to thank Dr. Robert Fokkens (UK) for his notes on my string
quartet as well as Mark Troop, Jonathan Truscott and Benn Hess of the Chamber Music
Company (UK) and Dr. Hannes Taljaard (North West University, Potchefstroom) for
their comments on the string trio versions of Glasblaser and Glasprater. I would also
like to thank Hanli Stapela (Tshwane University of Technology/University of Pretoria)
for her comments on my writing for voice.
Finally, I would like to thank my friends and family, especially my parents Johnny and
Sonja, for their unflinching faith in my abilities and their continual support and
encouragement.
Chris van Rhyn
March 2010
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iv
Contents
A note on my notation of string parts 1
Compositions:
In Paradisum for SATB choir 2
Droom for mezzo-soprano and piano: 11
• Kuspad 14
• Sy 17
• Glasblaser 20
• Glasprater 23
String trio arrangements from Droom:
• Glasblaser 26
• Glasprater 30
Het Hom! for tenor saxophone 34
The beauty in sorrow for string quartet: 37
• First Movement 40
• Second Movement 49
• Third Movement 54
Symphonata for orchestra: 61
• First Movement 62
• Second Movement 66
• Third Movement 71
• Fourth Movement 77
References 80
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1
A note on my notation of string parts
String harmonics were notated on sounding pitch in the score, with realisations, where
needed, appearing as a reference above or beneath the stave. Solid slurs in string parts
indicate phrasing. Where specific bowing is indicated, dotted slurs are used to
distinguish it from the phrasing indications. The exception to this is the string trio
arrangements of Glasblaser and Glasprater, where solid slurs indicate bowing.
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2
In Paradisum for SATB choir
This piece explores the notion of “paradise” being a token of joy as well as fear and
uncertainty. The road to paradise may be paved with pain and anxiety and the joy of
paradise may lie in the retreat to a state of unconsciousness, rather than the popular idea
of elaborate feasts and gold-paved streets.
The words are as follows:
In paradisum deducant te Angeli; in tuo adventu suscipiant te martyres, et perducant te in civitatem
sanctam Ierusalem. Chorus angelorum te suscipiat, et cum Lazaro quondam paupere æternam habeas
requiem.
May angels lead you into Paradise; upon your arrival, may the martyrs receive you and lead you to the holy
city of Jerusalem. May the ranks of angels receive you, and with Lazarus, the poor man, may you have
eternal rest.
(In Paradisum, 2008: online)
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�
�
�
�
Soprano
Alto
Tenor
Bass
��������
�
� con rubato
�� �In pa ra
� � � In pa ra
�
�
��� � di sum, in
� � �di sum, in
�
�
� � �
pa ra
� � � � � pa ra di
�
�
� �di sum
� �sum
�
�
- - - - - -
- - - - - - - - -
�
�
�
�
S
A
T
B
�
�
�� � � � de du cant te an ge
� � � de du cant te an ge
�
�
�
�
� � � �li, de du cant te
�� � � �li, de du cant te
�
�
� � � an ge li, in pa ra
� � �� an ge li, in pa ra
�
�
- - - - - - - - - -
- - - - - - - - - -
In ParadisumChris van Rhyn
1
4
(bars 1-11)
3
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�
�
�
�
S
A
T
B
��� � di sum, in
� � �di sum, in
�
�
� � � �
pa ra di sum,
� � � � � � �� pa ra di sum,
�� �
�
�
�
�
�� � �in pa ra
�� � �in pa ra
�� � In pa ra
�
�
�
�
��� � di sum
�� � � �di sum, in�� � � �di sum, in
� �In
- - - - - - -
- - - - - - - - - -
- - -
�
�
�
�
S
A
T
B
subito �
subito �
�
�� �
� �� � pa ra di sum, in
� �� ��� pa ra di sum, in
� � � pa ra di sum, in
� � � � � in pa ra di sum,
� � pa ra di sum
�� � �� pa ra di sum,
� �� pa ra di sum,
� tempo giusto
� �
� �
� in pa ra di sum
��
in pa ra di sum
- - -
- - - - - - - - -
- - - - - - - - - - -
- - - - - - - - - - -
7
(9)
4
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�
�
�
�
S
A
T
B
�
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�
� de du cant te
� de du cant te
� de du cant te
� de du cant te
�an ge li,
� �
� ���an ge li,
� �an ge li,
� �an ge li,
� �de du cant te
� �de du cant te
� �de du cant te
� �de du cant te
an ge li, in pa ra
�� an ge li, in pa ra
an ge li in pa ra
� an ge li in pa ra
�di
�� ����di
�� ���di
� ��di
- - - - - - - - - - -
- - - - - - - - - - -
- - - - - - - - - - -
- - - - - - - - - - -
�
�
�
�
S
A
T
B
sum, in pa ra
� sum, in pa ra
� sum, in pa ra
sum, in pa ra
� ��di sum.
�� �di sum.
� �di sum.
� di sum.
� �
��
��
�
��
�poco più mosso
�
poco più mosso
�� � �In tu o su
� �
In tu o ad ven tu su
�
�
- - - - - -
- - - - - - - -
- - - - -
- - - - -
12
17
(bars12-40)
5
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�
�
�
�
S
A
T
B
�
�
�
� � � � � 3
sci pi ant te mar ty res,
� � � � � 3
sci pi ant te mar ty res,
� � � �te mar ty res
�
subito �
subito �
subito �
�
�� �in tu o su
� �in tu o su
���� �in tu o su
� � In tu o ad ven tu su
�
�
�
�
� � � � � 3
sci pi ant te mar tyres,
� � � � � 3
sci pi ant te mar tyres,
� � � � � 3
sci pi ant te mar ty res,
� � � � � � � 3
sci pi ant te mar ty res,
- - - - - - - - - -
- - - - - - - - - -
- - - - - - - -
- - - - - - - -
�
�
�
�
S
A
T
B
� mar ty res, mar ty res
mar ty res, mar ty res
� � mar ty res, mar ty res
�� � mar ty res, mar ty res
�poco accelerando
�
�
�
poco accelerando
per du cant te in ci vi ta tem
�per du cant te in ci vi ta tem
et per du cant te in ci vi ta tem,
et per du cant te in ci vi ta tem,
- - - - - - - - -
- - - - - - - - - -
- - - - - - - - -
- - - - - - - - -
22
25
6
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�
�
�
�
S
A
T
B
per du cant te in ci vi ta tem
�� per du cant te in ci vi ta tem
et per du cant te in ci vi ta tem
� et per du cant te in ci vi ta tem
� � sanc tam Ie ru sa lem,
� � sanc tam Ie ru sa lem,
� � sanc tam Ie ru sa lem,
� �sanc tam Ie ru sa lem,
- - - - - - - - -
- - - - - - - - -
- - - - - - - - -
- - - - - - - - -
�
�
�
�
S
A
T
B
ritardando
ritardando
�� � 3
sanc tam Ie ru sa lem, Ie
�� �� 3
sanc tam Ie ru sa lem, Ie
� 3
sanc tam Ie ru sa lem, Ie
�� � � �3
sanc tam Ie ru sa lem Ie
�� ���ru sa lem.
�� ���ru sa lem.
� ��ru sa lem.
�� ��ru sa lem.
�a tempo
�
�
�
a tempo
���� � Cho rus an ge
���� Cho rus an ge
��� Cho rus an ge
�� Cho rus an ge
����� lo rum
��� lo rum
� �
���� lo rum
� lo rum
- - - - - - - - - - -
- - - - - - - - - - -
- - - - - - - - - - -
- - - - - - - - - - -
27
29
7
Stellenbosch University http://scholar.sun.ac.za
�
�
�
�
S
A
T
B
�
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�
�� te su
�� te su
� �� te su
� �� te su
�3
sci pi at, et cum
�3
sci pi at, et cum
3
sci pi at et cum
3
sci pi at et cum
� �La za ro
� � ��La za ro
� � ��La za ro
� ��
La za ro
3
quon dam pau pe re
� 3
quon dam pau pe re
� 3
quon dam pau pe re
3
quon dam pau pe re
�ae ter nam
�ae ter nam
� ae ter nam
�
ae ter nam
- - - - - - - - - -
- - - - - - - - - -
- - - - - - - - - -
- - - - - - - - - -
�
�
�
�
S
A
T
B
�ha be as
�ha be as
��ha be as
��ha be as
� re qui
�
� re qui
�� re qui
�� re qui
� �em.
��
�em.
���em.
����em.
��������
�
� con rubato
�� �In pa ra
� � � In pa ra
�� �In pa ra
�
��� � di sum, in
� � �di sum, in
�� � di sum, in
�
- - - - - - -
- - - - - - -
- - - - - - -
- - - -
33
38
(bars 41-53)
8
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�
�
�
�
S
A
T
B
� � �
pa ra
� � � � � pa ra di
� �pa ra
�
� �di sum
� �sum
� �di sum
�
�
�
�
�� � � �
de du cant te an ge
� � � de du cant te an ge
� � � � de du cant te an ge
�
�
�
�
� � � �li, de du cant te
�� � � �li, de du cant te
� � � �li, de du cant te
�
- - - - - - - - -
- - - - - - - - - - -
- - - - - - - - -
�
�
�
�
S
A
T
B
�
� � � an ge li, in pa ra
� � �� an ge li, in pa ra
� � � an ge li, in pa ra
� � In pa ra
��� � di sum, in
� � �di sum, in
�� � di sum, in
�� � di sum, in
� � � �
pa ra di sum,
� � � � � � �pa ra di sum,
� � � pa ra di sum, in
� � ��pa ra di
- - - - - - - -
- - - - - - - - - -
- - - - - - - -
- - - - - - - -
43
47
9
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�
�
�
�
S
A
T
B
� �
in pa ra di
�in�
pa ra di
� �sum, in
� �
sum, in pa ra di
� �pa ra di � �
sum, in
� � �pa ra di
��
sum.
��sum.� � pa ra di sum.��sum.
perdendosi
perdendosi
perdendosi
perdendosi
�!
!!
!
- - - - - - - - - -
- - - - - -
- - - - - - - -
- - - - - -
50
10
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11
Droom – A song cycle for mezzo soprano and piano
The text represents a nonsensical dream sequence. The music becomes more abstract as
the dreamer moves into the deeper stages of the sleeping cycle and the dreams become
more vivid, eventually revealing its meaning in the words “ek het my wonde aan jou
woorde bly tel” (I kept measuring my wounds to the effect of your words).
Unity in the work is created by the use of a single octatonic scale in the vocal line
throughout (although enharmonic equivalents were employed where needed):
The accompaniment consists of conventional chords in unconventional progressions and
combinations, with more added notes in the accompaniment of each song signifying my
aspiration to abstraction.
String trio and soprano arrangements were created for a performance by the Chamber
Music Company (UK) and the soprano Hanli Stapela. The endings of the voice and
piano versions of Kuspad and Glasblaser were changed in hindsight to create a more
balanced effect in the cycle as a whole – these changes had not been made by the time the
string trio version of Glasblaser had been performed and I have therefore left the string
trio score of Glasblaser unchanged.
The text, by Lou-Ann Stone, is as follows:
Kuspad
Op die rug
van ‘n swart kameel
jaag ons windvlae na
met wit lappe, flitslig,
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12
bedags die ontsaglike son.
Geanker in net die wind
se rustelose rondwaai.
Sy
Die stoepkamer
se lig brand,
haar hare vleg
vanself
en soms knip sy haar oë
met ‘n stomp skêr
wanneer niemand kyk nie.
Glasblaser
fakkels in die tuin
sonder gras, net glas:
geblaas deur my binneste,
swel en bars na my buitenste
Glasprater
Die fakkels
in jou hande
bly brand soos
glas in jou mond:
ek het my wonde
aan jou woorde bly tel.
(Stone, 2008)
Coastal road
On the back
of a black camel
we chase squalls
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13
with white cloths, torch light,
during the day the imposing sun.
Anchored in just the wind’s
restless jerking.
She
The porch room’s
light is on,
her hair braids
by itself
and sometimes she blinks, cutting her eyes
with blunt scissors
when no one is looking.
Glass-blower
torches in the garden
without grass, just glass:
blown from within myself,
swells and bursts to my exterior
Glass-talker
The torches
in your hands
keep burning like
glass in your mouth:
I kept measuring my wounds
to the effect of your words.
(The English translations are by the composer and have been approved by the poet.)
Stellenbosch University http://scholar.sun.ac.za
�
�
�
�
�
�
Mezzo-Soprano
Piano
�
� �
Largo ��������
�
�
� ��
�
�
������ ��
�� ��3
�� �
�
������� � � �
3
����
�
���
��
��� �� �� �3
�
�
�
Mezzo
Pno.
�
� �
5
�
5 ����
��
�� �� � � 3
���
��
Allegro ��������� ����� �� � � � ��
���� �� � � � ���
�
���� ��� �
�� � �
��� � ��� � �� � �
�
��� �� �� � �� �
��� �� �� � �� �
�
�
�
Mezzo
Pno.rubato
10
�
10
�� ��� � �� � ���� ��� ���� ���
3
�� ��� � ��� ��� �� ��� ��� 3
�
�
a tempo
� �� �� �Op die
�� �� ��� ���� ����
��� ��� � ����� �
� �� ��3
rug van 'n
�� � ��������������� ����
�� � ��� ��� ����
Kuspad
(pedal)
Chris van Rhyn
14
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�
�
�
Mezzo
Pno.
�
13
� � �swart ka
13
��� ��� ���� ���� ������� ��� �� ��
� �meel jaag ons
��� � � �� ��� ��� ��� �� �� ��
�� ��wind vlae na
������ � �����
���� ����
������ � ���������
- -
�
�
�
Mezzo
Pno.
�
�
16
� � �3
met wit
16
���� � �����
��� �� �� �����
���� �
��� ��� ���
�� � �� �lap pe,
���� � ����
��� �� �� �� �� �� ���
�
�
� � � � �� flits lig, be
���� �� ��� �
�� ��� ��� ���
� � � �dags die ont
��� � ���� �����������
���� ��� �����
- - - -
�
�
�
Mezzo
Pno.
�
20 � � �� �sag li ke
20 ������ ���� ���� ����������
��� ���� � �
� �son.
��� ��� ��
��� � �� �� � ����
��� �
Ge
�� ��� ��
� ��
� �� �an ker in
������ ���� �����
�� �� �����
- - - -
15
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�
�
�
Mezzo
Pno.
�
24
�� � � �3
net die wind
24
��� �� ��� ����� �� ����
����� �
�� �� ����
�� � �
se
��� ���� �
�� ��
��� �� ��� ��rus te lo se
���� �� � ���� ���
��� �� � ��� � �� �
�� �� rond swaai.
���� �� � ���� ����
��� �� � ���� ��� �
- - - - - -
�
�
�
Mezzo
Pno.
���
subito �
28 � �
28
��� � ���� ����� �
��� � ��� � �� �����
�
��
�
16
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�
�
�
�
�
�
Mezzo-Soprano
Piano �
Largo ��������
�
�
�� �
�
�
� �
� �
����� �
� � �� �
�
� � �
�� � � �
�
�
�� �
� ���� � � � � �
�
�
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Mezzo
Pno.
� �
6
�
6 � � �
� �� �� � � � � �
����� ����
�� � ����� � � �
����� �
��� ����
� �� � �� � � � ��
��� ����
���� ������ ���� �
��
�� ���� � �� � �
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�
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Mezzo
Pno.
�
10
�
10 ��
�� �� � � � � � �
�
������� ��
����� � �� � � �
�
�� ��
Die
��
��
��� � � ��stoep ka mer se
��� �� � ���
�� �� ��
�� � �� � � � �� �
- -
Sy
(pedal)
Chris van Rhyn
17
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�
�
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��
��
��
�
�
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Mezzo
Pno.
�
14 � �lig brand,
14
� �� �� ������� � � � ���� ��
�
�� � ��
haar
����� � �� � � � � �� � �
������� � ��
���� �
�
�rubato
rubato
� �� ��ha re vleg
���� �
������
�����
�
�� � ����
- - -
�
�
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��
Mezzo
Pno.
�
�
17 � � �� �� �3
17 ���� �� ������������
����� � �� �� � � �a tempo
a tempo
� � � � � ��van self en
�� �� � �
� � � � �� � �
�� �� � � � � � �� ��soms knip sy haar oë met 'n
� ���
�� ��
��� � ��
��������� ������������
-
�
�
�
��
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��
�
�
�
Mezzo
Pno.�
�
20
�� �� �stomp skêr
20 ��� ���� � ������ ��������
��
�
�� � � � �� �
wan neer nie mand
�����
��� ��
� �� � � � �
�� ��� kyk nie.
�������� �� �� ��
������� �� �� �� ��
- -
18
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�
�
�
Mezzo
Pno.
�
23
�
23
���� �� �� �� �� �� �� ��
�
�
�� ����
�� �� �� �� �� �� �� ��
�
�� ������
�� ��
�� �� �� �� �� �� �� ��
�
�
�
Mezzo
Pno.
� �
26
�
26 ���� �� ���� �� �� �� �� �� �� ��
�
�� ��
�� �� �� �� �� �� �� �
�
�� ���� ��
�
�
�� �
�
�
� �
�
�
���
�
19
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�
�
�
�
�
�
��
��
��
Mezzo-Soprano
Piano
Andante �������
�
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Pno.
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4 ��tuin
4 � � �� �� ��
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rubato
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a tempo
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7
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Glasblaser
(pedal)
Chris van Rhyn
20
Stellenbosch University http://scholar.sun.ac.za
�
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Pno.
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10
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14
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bui ten ste my
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- -
21
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�
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Mezzo
Pno.
16
� � � �3
bui ten ste
16
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Pno. rit.
19
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19
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22
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�
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4
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Pno.
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7
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--
Glasprater
(pedal)
Chris van Rhyn
23
Stellenbosch University http://scholar.sun.ac.za
�
�
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Mezzo
Pno.
�a tempo
a tempo
10 � � � �glas in jou
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13
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15
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24
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�
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25
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�
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Glasblaser
Chris van Rhyn
*
*
26
Stellenbosch University http://scholar.sun.ac.za
�
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*
27
Stellenbosch University http://scholar.sun.ac.za
�
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Stellenbosch University http://scholar.sun.ac.za
�
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arco
23
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arco
perdendosi
perdendosi
perdendosi
� �
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29
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�
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Glasprater
Chris van Rhyn
keep vibrato to a minimum
(vibrato)
30
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�
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8
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*
*
31
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�
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32
Stellenbosch University http://scholar.sun.ac.za
�
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portamentoarco (senza vibrato)
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33
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34
Het Hom! for tenor saxophone
This piece is an account of three different stages of my life. Each stage is represented by
a different hexachord, gradually moving from one into the next. When in a new stage,
the new hexachord may have some pitches in common with the previous one (or the next,
or both), signifying characteristics (or unresolved issues) that have remained.
The title Het Hom! (Got Him!) nostalgically refers to the childhood game of “catch” or
to the continuous aspiration to a higher level of personal growth.
The hexachords are as follows (although enharmonic equivalents were employed where
needed):
Stellenbosch University http://scholar.sun.ac.za
� �� �� ��Tenor Sax.
�������
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� � �� � � �3
� �
�� �
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3
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3 �� � �� ���������
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� �� �� �������
11 � �� �� � � �� � � ��
3
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3
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15
� � � � � � � �3 3
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3 � �� � 3
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�� � � � � � � � � � �
het hom!Chris van Rhyn
[*]
[* don't tongue]
[x] [x][x]
[x senza vibrato]
35
Stellenbosch University http://scholar.sun.ac.za
� �� ���
44 � � � � � � �� � �
���possible
�� � �� �� � �
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50 � � � � � � � � �3
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3
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subito �
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� �� �� �������
55 � ���������
� � � � �3 3
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� � �� �
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subito �
60 � � � � � �������
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� �� �� �� �������
�65 � � � � � �
��
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�� � �
3 �� � ���
[x]
[x]
[x]
[x]
[x senza vibrato]
[$]
[$ The player should strive towards legato phrasing, as indicated by
the dotted line, although a short break (as indicated by the solid line)
is necessary to avoid squeaking here.]
36
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37
The Beauty in Sorrow for string quartet
The three movements of this string quartet are based on three paintings by Vladimir
Tretchikoff. Tretchikoff (who was born in Petropavlovsk, Russia, in 1913 and died in
Cape Town in 2006) is said to be “the only artist who managed to achieve ubiquity
amongst the popular masses” (2010: online). The following quote from the official
Tretchikoff website (2010: online), represents an artistic philosophy which the present
writer is always striving towards, although it’s not necessarily achieved in this work:
Unbeknown to many, Tretchikoff was the first artist to make and sell reproductions of his work, making it
affordable and accessible to all. At the time, art critics objected, saying he was devaluing and
commercialising art. To which he responded, "Why should my art only be available to the rich and famous?
I want everyone to enjoy my art."
This string quartet is based on three Tretchikoff paintings with a common, universally
relevant and timeless theme: the beauty in sorrow. The paintings are:
Rainy Day (First Movement)
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Weeping Rose (Second Movement)
Resurrection (Third Movement)
(Gallery, 2008: online)
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This piece is programmatic in the sense that imagined movement is depicted: the rain
falling, the rose falling from the glass and the divorce of the spirit from the body. In
some instances different parts of the music can be seen as a camera focusing on different
parts of the picture, zooming in and out. Colours that are common to more than one
painting are represented by motifs that occur in all of the corresponding movements.
These “colours” are melodic fragments derived from different combinations of
conventional chords (representing beauty and sorrow), resulting in a more abstract sound.
The first part of the second movement is a fugue.
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gigue.
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References
Gallery. 2008. [O] Accessed 8 May 2008: www.vladimirtretchikoff.com/gallery
In Paradisum. 2008. [O] Accessed 23 June 2008: http://homepages.luc.edu/
avande1/requiem.htm.
Stone, L. 2008. Kuspad. Unpublished poems.
Vladimir Tretchikoff. [O] Accessed 21 February 2010: www.vladimirtretchikoff.com
Stellenbosch University http://scholar.sun.ac.za